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Posted on 09.02.09 by David @ 8:37 am
Magnolia has picked up the North American rights for Bong Joon-ho’s latest film, Mother, as well as the rights for one of his older films, Barking Dogs Never Bite. I’ve still yet to see Mother, but Barking Dogs Never Bite may be my favorite Bong film, with the best Bae Doo-na performance outside of Linda Linda Linda. I’m glad it will finally get the official US release it deserves. Full press release after the break: Filed under: Movie News and Movie News: South Korea and Studios: Magnolia Pictures and People: Bong Joon-ho Comments: None |
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Posted on 08.13.08 by David @ 9:45 am
Cinema Strikes Back’s David Austin sat down recently with Park Jae-young, who was in New York for the presentation of A Puppy, Our Family at the 2008 New York Asian Film Festival, to discuss the film, the treatment of dogs, and Park’s upcoming plans. On Working with Dogs CSB: I have to ask – are you a dog lover who is trying to send a message or are you someone who is terrified of dogs and wants to send a warning to the rest of us? Park: I love dogs. And I love cats. I love many animals. CSB: Did you consider doing the movie with a cat? Park: I once shot a short film starring a cat, but cats are difficult to control. They are not good actors. Dogs are much easier to work with. Filed under: Movie News and Movie News: South Korea and Contributors: David and Movie News: Interviews and Film Festivals: New York Asian Film Festival 2008 Comments: None |
A Puppy, Our Family, a short film that played during the popular Korean Mise-en-scene’s Short Film Festival confounded expectations more than any other recent film. Watching it cold it was easy to be lulled into expecting a quirky family comedy. There was little reason to expect the whammy brothers and co-directors Park Jae-Young and Park Soo-young were about to drop on the audience’s collective head – the tale of the vengeful spirit of an abandoned cute wittle puppy named Ppoppi.|
Posted on 07.07.08 by David @ 10:56 am
Cinema Strikes Back’s David Austin and Jeff sat down last week with Lee, who was in New York for the presentation of M at the 2008 New York Asian Film Festival, to discuss M, the importance of dreams to Lee’s work, and Lee’s next project. On the Shooting of M CSB: Duelist and Nowhere to Hide were genre pieces. Were you worried you would have a problem with M, which seems to be less of a commercial film. Lee: But I thought it was a very commercial film. I think that about all my films. (laughs)  Filed under: General and Movie News and Movie News: South Korea and Contributors: David and Movie News: Interviews and Contributors: Jeff and Film Festivals: New York Asian Film Festival 2008 Comments: None |
Lee Myung-se has garnered an international reputation as a master of cinematic style. His recent films Nowhere to Hide and Duelist put that style in the service of an unconventional police procedural and a swordplay period piece respectively, but his latest film, M, avoids genre to explore dreams, memory and lost love. Superficially a ghost story, M is driven as much by the complex visuals and rapid-fire editing as by the free-form narrative, which follows frustrated writer Minwoo (Jang Don-won) as he is haunted by the memory of his first love, Mimi (Lee Yeon-Hee).|
Posted on 08.17.07 by David @ 10:48 am
 This weekend the Korean Cultural Service is presenting two free nights of award-winning short films. The program, titled “Emerging Lights of Korean Cinema: Independent Visions of the Short Film,” will play at the Anthology Film Archives (for those of you who missed the old rattletrap during the recent NYAFF) on the nights of August 18 and 19 beginning at 6:30. The films, selected from the Seoul Independent Film Festival, are a mixture of the highly experimental, as with the second part of Lee Ji-sang’s “Ten Oxherding Pictures,” which integrates footage of the fictional letters with static shots of the director working on his farm, and and more traditional short stories like “A Beautiful Wife,” in which the wife of a dead dock worker who is trapped between the conflicting demands and entreaties of her husband’s company and union. Filed under: General and Movie News and Movie News: South Korea and Contributors: David and Film Festivals: News Comments: None |
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Posted on 07.02.07 by David @ 9:53 am
 Part 8 of our report on the always-outstanding 2007 Subway Cinema New York Asian Film Festival, which runs until July 8 (schedule here): The Show Must Go On In The Show Must Go On, Song Kang-ho, possibly the most enjoyable Korean film actor today, plays a middle-aged, middle-management gangster named In-gu. The set-up finds In-gu caught between the escalating demands of his wife and daughter, and his increasingly hazardous racketeering activities, including a stupendous brawl between construction workers and mobsters, and a semi-comical botched assassination attempt in a convenience store. If there’s one thing I’ve learned from Korean gangster movies like A Bittersweet Life, The Show Must Go On, and Cruel Winter Blues, it’s that Korean gangsters, like Shakespearean characters, can get a lot done even after receiving massive puncture wounds.  Filed under: Movie News and Movie News: Japan and Movie News: South Korea and Movie Reviews and Movie Reviews: Japan and Movie Reviews: South Korea and Contributors: David and Contributors: Jeff and Film Festivals: New York Asian Film Festival 2007 and Movie Reviews: Capsule Reviews Comments: 3 Comments |
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Posted on 06.25.07 by David @ 9:28 am
Part 5 of our report on the always-outstanding 2007 Subway Cinema New York Asian Film Festival, which runs until July 8 (schedule here): Retribution  Retribution is an unusually straightforward horror film from the noted arthouse horror director Kiyoshi Kurosawa. While Kurosawa’s other films range from the terrifying (Kairo) to the outright goofy (Loft - see our review here, Guard from the Underground), almost of them contain inscrutable elements that defy rational explanation. Not so Retribution, which features Kurosawa’s frequent leading man Koji Yakusho (Cure, Doppelganger) as a cop investigating a series of drownings that he may have committed himself while in a trance-like state. Forensic evidence and Yakusho’s dreams both lead our protagonist to encounter a malevolent spirit who has a number of surprises in store for our protagonist and the audience. Filed under: Movie News and Movie News: Japan and Movie News: South Korea and Movie Reviews and Movie Reviews: Japan and Movie Reviews: South Korea and Contributors: David and Film Festivals: News and People: Kiyoshi Kurosawa and Contributors: Jeff and Film Festivals: New York Asian Film Festival 2007 and Movie Reviews: Capsule Reviews Comments: 1 Comment |
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Posted on 06.23.07 by David @ 11:00 pm
Part 4 of our report on the always outstanding 2007 Subway Cinema New York Asian Film Festival, which runs until July 8 (schedule here): Freesia: Bullets Over Tears Director Kazuyoshi Kumakiri makes a specialty out of crafting the bleakest possible scenarios. Kichiku was positively brutal, and 2004’s Antenna saw Ryo Kase chewing into his own arm during dominatrix therapy for childhood traumas. Now, in Freesia, we are given characters whose emotions and sensations literally have been frosted out of them. Freesia takes place in a future Japan – not quite post-apocalyptic, but certainly well on its way. The country is militarized, and vendetta – revenge killings – against criminals have been legalized. Tetsuji Tamayama plays Kano, a mild-mannered apparatchik hitman whose feelings accidentally were destroyed in a military test of a weapon designed to freeze enemy combatants. He takes his assignments from Higuchi (Tsugumi), a similarly crippled woman who eventually manipulates her position to gain her own vengeance against those responsible for the bomb.  Superficially, Freesia is one of Kumakiri’s most commercial films, based as it is on a manga and containing sci-fi and violence elements. However, Freesia is far too cold-blooded to aspire to the popcorn film status that a plot description might indicate. The legalized killings serve a secondary purpose in the plot – as in Robert Sheckley’s The Tenth Victim (though with a far different tone), we do not openly explore the origin or morality of the hunt, but rather the minds of the players. Kumakiri is far more interested in exploring the scars on his protagonists’ psyches. Filed under: Movie News and Movie News: Japan and Movie News: South Korea and Movie Reviews and Movie Reviews: Japan and Movie Reviews: South Korea and Contributors: David and Film Festivals: News and People: Park Chan-wook and Film Festivals: New York Asian Film Festival 2007 and Movie Reviews: Capsule Reviews Comments: 1 Comment |
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Posted on 03.09.07 by Charlie @ 4:44 pm
The excellent Korean monster movie The Host (aka Gwoemul) comes out in theaters in the United States today, Friday March 9th, and we here at Cinema Strikes Back highly recommend that you see it. We were delighted to catch up with the director, Bong Joon-Ho, for a short interview at the Sitges Film Festival this past October near Barcelona, Spain. Because no translator was available at the time, Mr. Bong kindly offered to conduct the interview in English. What follows is a loose translation of the recorded discussion, which you’ll see begins in the middle of a conversation about the state of Korean cinema. Enjoy! Cinema Strikes Back: We were very concerned over the past few years that in Korean cinema “gangster comedies” like “My Wife is a Gangster” had completely taken over the box office, and so we’re very excited to see that you’re moving things in a new direction… Bong Joon-Ho: (Laughs) Those kinds of movies always existed in our industry. But also, at the same time, serious and creative films certainly also existed. CSB: What filmmakers in Korea and elsewhere do you admire or look up to in your career as a filmmaker? BONG: I love the, maybe you don’t know the old Korean director Kim Ki Young. He passed away 8 years ago, he was a master in 1960s and 1970s in Korea. In early December 2006, there will be a retrospective of Kim Ki Young. So, he’s my favorite director in Korea. I also love Imamura Shohei, the Japanese director, who passed away recently. I also love many, — all the mid-1970s American movies, even the box office hit movies of that time. They were very inventive and helpful, so I really love the 1970’s American movies. Filed under: Movie News and Movie News: South Korea and Movie News: USA and DVD News and DVD News: South Korea and Contributors: Blake and Contributors: Charlie and Film Festivals: News and Movie News: Interviews and People: Bong Joon-ho and Film Festivals: Sitges 2006 and Movies: The Host (2006) Comments: None |
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Posted on 06.25.06 by David @ 9:29 pm
 The fifth annual Subway Cinema New York Asian Film Festival continues. Here’s a rundown of some of the films that played during the second week of the festival (some of which still have additional showings, check the schedule here.) There’s still lots of good stuff in the last week, including a final showing of Linda Linda Linda, so get out there! Oh! My Zombie Mermaid [aka Ah! Ikkenya puroresu]  Forget the zombie, forget the mermaid, what this movie has is a full-blown, knock-down drag out battle to the finish that’ll knock your socks off. See the full review here. Recommended. Funky Forest: The First Contact [aka Naisu no mori: The First Contact]  Last year, Katsuhito Ishii directed A Taste of Tea, which was a sweet and funny look at an eccentric family. This year, he decided to let it all hang out, and the result was Funky Forest, a completely bizarre mélange of sketch comedy, non-sequitur humor, and cheerfully obscene special effects. And dancing, lots of dancing. I absolutely loved it, and so did the crowd at the Festival. Many of you will too, and you probably know who you are. With Tadanobu Asano as “Guitar Brother.” Highly recommended. (a full review will be forthcoming, but don’t expect any more enlightenment) Filed under: Movie News and Movie News: Bollywood and Movie News: Japan and Movie News: South Korea and Movie Reviews and Movie Reviews: Japan and Movie Reviews: South Korea and Contributors: David and Movie Reviews: India and Film Festivals: New York Asian Film Festival 2006 and People: Nobuhiro Yamashita and Movies: Linda Linda Linda (2005) and People: Nao Omori Comments: 1 Comment |
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Posted on 06.20.06 by David @ 7:51 am
The fifth annual Subway Cinema New York Asian Film Festival kicked off with some doozies – including the first Malaysian film ever to screen at the festival, one of Takashi Miike’s latest works, and the outstanding Indian crime film, Ab Tak Chhappan. Here’s a rundown of some of the films that have played so far (all of which, except for Art of the Devil 2, will be playing again during the festival. Check the schedule here.) Gangster  Azmi’s ultra-modern Kuala Lumpur is filled with drug dealers, illegal street racers, and transvestite prostitutes. In keeping with this mix, Gangster is equal parts social drama, racing film, and gangster morality tale. Azmi also plays with form – the film has an elliptical structure and converging storylines, not to mention an amazing performance by Malaysia’s most popular actor Rosyam Nor in three very different roles (it really is impressive - I knew he was playing three people and still could not tell which three). Gangster is more than your average mindless exercise in car chases and shoot-outs. Recommended. A Bittersweet Life  Gorgeously shot, but ultimately pointless, this gangster revenge tale positively wallows in style. Unfortunately, the theme – coldblooded hitman shows emotion and finds himself at odds with his former gang – has been done to death. Fortunately, style in sufficient quantity and quality can go a long way, and this film has style in spades. It also has Lee Byung-hon, who despite suffering from “pretty-boy hitman” syndrome, turns in an intense, dedicated performance that keeps you caring about his character long after you know you shouldn’t bother. I think that director Kim Jee-woon has yet to surpass his earlier The Foul King, which had style, humor and heart, but A Bittersweet Life is very entertaining, and that’s enough. Recommended. Filed under: Movie News and Movie News: Japan and Movie News: South Korea and Movie Reviews and Movie Reviews: Japan and Movie Reviews: South Korea and Contributors: David and Movie News: India and Movie News: Thailand and Movie News: Malaysia and Movie Reviews: India and Movie Reviews: Thailand and Film Festivals: New York Asian Film Festival 2006 and Movie Reviews: Capsule Reviews Comments: 1 Comment |
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Posted on 05.16.06 by David @ 4:02 pm
We reported earlier that Subway Cinema has added the South Korean gangster drama A Bittersweet Life to the lineup of the 2006 New York Asian Film Festival, in addition to the previously scheduled Duelist. Korean film fans will be pleased to know that Subway Cinema has now announced a number of additional Korean films, including Git (aka Feather in the Wind), a slight romance about a man and woman passing time on island (not the desert variety), Magicians, about the eponymous band by the same director, Song Il-gong, and the heavily-hyped Welcome to Dongmakol, set during the Korean War, which has many have called the best Korean film of the past year.
 Filed under: General and Movie News and Movie News: South Korea and Film Festivals: New York Asian Film Festival 2006 Comments: Comments Off |
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Posted on 04.13.06 by David @ 7:56 pm
Shin Sang-ok, the South Korean director abducted by North Korea and forced to create the world’s only Communist kaiju film (based on Japan’s output, I’m guessing most kaiju vote Green Party) has died at the age of 80. I haven’t had a chance to see any of his films aside from Pulgasari (my understanding of Korean is, frankly, non-existent, but I believe the “pulga” is derived from rice), but this weird little ditty about a rice-monster that grows up to help peasants defeat oppressive armies is really every bit as entertaining as it sounds. It can be a little difficult to acquire, but it’s worth the effort for the novelty alone, and actually has some surprisingly good moments. ::: Shin Sang Ok, 80, Korean Film Director Abducted by Dictator, Is Dead ::: S. Korean film director abducted by North dies Filed under: Movie News and Movie News: South Korea and Movie News: Obituaries Comments: Comments Off |
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Posted on 04.07.06 by David @ 8:13 am
However, there are now reports that Aja has been signed to direct another remake - this time of the J-Horror inspired Korean ghost thriller “Into the Mirror.” Obviously, at this stage there’s no way to judge the merits of the film, but Aja should be wary making yet another Asian horror remake, especially after just coming off a remake. Unoriginal remakes may be where the money is at in Hollywood these days, but it’s no way to enhance your reputation as a creative up-and-coming filmmaker. Aja might want to think hard about where he wants his career to go before he finds himself helming the latest “Charlie’s Angels.” ::: Alex Aja Looks ‘Into the Mirror’… and Sees Another Remake Filed under: Movie News and Movie News: South Korea and Movie News: USA and People: Alexandre Aja Comments: 2 Comments |
Alexandre Aja’s debut feature, “Haute Tension,” had a final twist that excited and irritated viewers in equal measure, but no one could deny the skill and talent behind the thrills, and the enthusiasm behind the gruesome set pieces. Aja’s second work, the remake of Wes Craven’s “The Hills Have Eyes,” has also been well received.|
Posted on 03.03.06 by David @ 9:28 am
Arrow in the Head recently interviewed Park Chan-wook about his past and future projects. ::: INT: Park Chanwook Filed under: Movie News and Movie News: South Korea and People: Park Chan-wook Comments: 2 Comments |
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Posted on 11.04.05 by Charlie @ 3:21 am
 On October 2nd, at a special screening of Sympathy for Lady Vengeance (친절한 금자씨) at the New York Film Festival (you can read an in-depth review of the film here), Park Chan Wook participated in a Q&A session with the help of a translator. I copied it all down as fast as I could write, but understand this is a rough transcript, and also note that if you haven’t seen the film, be warned there are SPOILERS in this Q&A:
“Oldboy was visually abundant, more warm than Mr. Vengeance. Lady Vengeance is different from all of my previous films because it has a woman as the protagonist.” Question: “When did you find an actress for the role and did you bring her into script-writing as well?” Park Chan Wook: “[Yeong Ae] Lee was also in JSA. In that film, I regretted that I didn’t have the chance to delve into her possibilities [as an actress]. She wanted to do something more provocative.”  Park Chan Wook said that after bringing her on board for Lady Vengeance “She read each script as it came out, and would discuss things she didn’t understand.” Question: “Were the references to broken glasses in Lady Vengeance a reference to Battleship Potemkin?” Park Chan Wook: “No. There’s only one homage in the film — when she’s taking the teacher to school. They turn left, and in the car the people in the car sway around, similar to Hitchcock’s The Birds, when birds swing in the background.” (Click Here To Read More…) Filed under: Movie News and Movie News: South Korea and Contributors: Charlie and Movies: Sympathy for Lady Vengeance (2005) and People: Park Chan-wook and People: Lee Young-ae and Movie News: Q&As Comments: 3 Comments |
Introduction: After noting that Sympathy for Lady Vengeance was the 3rd film in a trilogy on vengeance (with Oldboy and Sympathy for Mr. Vengeance), Park Chan Wook said: “Whenever I start off a new film, the first thing I think is how to be different from what I’ve just done. After JSA, I wanted to do something very cold.”
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